Issue link: https://digital.copcomm.com/i/636504
28 designed and created the wig to replicate his hair style dur- ing that period in his life. Stage two brings us to the end of his life, where he has become homeless, crazed and out of control. The same forehead prosthetic molds were utilized, a new set of fur- ther damaged dentures were created, along with advanced crippled hand pieces to accentuate the damage. Kathrine created a new version of the wig to complete the final look. Stage three is his death look and autopsy. The same prosthetics and wig were utilized, and a full double-layered upper torso prosthetic was added to allow for the cutting and removal of organs all in one shot. I needed a great make-up artist who would work well with David Morse. I was fortunate enough to be able to bring Christopher Gallaher on to handle all applications during the shoot. The two got along great as Chris has a kind and gentle heart. Chris knocked the make-ups out of the park every day of applications. They are truly excellent. For Albert Brook's make-ups, we designed two stages: Stage one has Albert wearing a custom full silicone baldpate, which was sculpted by artist Jaremy Aiello. The pieces were pre-painted and hair was hand-punched along a two-inch perimeter, giving it a natural thinning progres- sion. Little hairs were punched into the top bald portion to pick up any back or rim lighting, giving the make-up a realistic appearance. Once the baldpate was applied, the hand-tied partial lace wig was added. The punched hair was dressed and styled into the wig to create a natural transition. Lace eyebrows were applied, as Albert does not have eyebrows, and subtle aging and color were added to complete the look. Stage two utilized the same prosthetic baldpate molds. A new partial lace piece was created, and hair was hand- punched into the baldpate, similar to the process for stage one. Slightly heavier aging spots and color were added, along with a new set of eyebrows to match the wig hair color. This stage was to show a time passage within the story telling at the end of the film. Anneliese Boies tied both of Albert's wigs and all the brows for the make-ups. Again, I needed a skilled and talented make-up artist who could also handle all the hair work for Albert. Tami Lane was given this task, as aside from being an amazing make- up artist, she can punch a cap faster and better then anyone I know. She is a make-up and hair dynamo! All those years on the LOTR and Hobbit films prepped her for any make- MAKE-UP EFFECTS continued Continued on Page 30 From top: Make-up artist Tami Lane finishes final stage of make-up on Albert Brooks as Cyril Wecht; Howard Berger pre-painting one of the Brooks' silicone baldpates at KNB EFX; close-up of the leg damage on David Morse as Mike Webster; Morse as Webster in his final days.